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Just over a month before House Of Balloons‘ release, Frank Ocean put out his own debut mixtape, Nostalgia, Ultra. The parallels abound — recognizable samples of indie/alternative music, casual drug references, the creators’ commitment to remaining elusive and behind-the-scenes — but in the years since, Tesfaye and Ocean have been on opposite trajectories. Nostalgia-era Ocean, with his brighter music, Coldplay and MGMT samples, and slightly bigger media presence (whereas Tesfaye wouldn’t give his first interview until 2013, Ocean was on a Fader cover by the end of 2011), seemed much more primed for the spotlight than the more dour, less family-friendly Tesfaye.
Trilogy (The Weeknd album)
That’s why the weirdo impulses — the whole red suit thing, the partnership with Oneohtrix Point Never, etc. — persist, but it’s also a masterclass in modern star-making. Anonymity may have been the marketing tactic du jour a decade ago, but more often than not, it’s hollow and unsustainable. What the Weeknd’s done is turn himself into a moodboard of his favorite directors, musicians, vibes. He began that process in auspicious form on House Of Balloons, and while he may have covered a ton of ground to get to where he is in 2021, the self-mythologizing is still going strong. On March 21, 2021, the tenth anniversary of the mixtape’s release, it was finally added to streaming services.
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The guy behind that project, Tom Krell, maintained anonymity from October 2009 to April 2010, when Pitchfork sniffed him out for a Q&A. We're all about bringing fun to your parties with our cool and stylish bounce houses. We have all sorts of inflatable rentals, including our special white bounce house that really stands out at any event. It's an inflatable dome filled with tons of floating balloons – a real party hit!
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Because of this, it is widely considered one of the most influential R&B projects in recent years. House of Balloons, along with Thursday and Echoes of Silence, was later remastered as the Trilogy album in 2012, with one extra song on each tape. The bonus track for this mixtape was his twenty-eighth song, “Twenty Eight”. There was a lot of that going on in the early 2010s — perhaps no more so than any other era, but all of it seemed to be getting attention. Death Grips made everyone forget that hip-hop had ever previously brushed shoulders with punk, noise, and metal — ditto for Sleigh Bells with regards to pop music.
Liturgy and Deafheaven’s radical updates on black metal put the genre in conversation with shoegaze and other “hipster” fare. It-producers of the moment AraabMuzik and Clams Casino churned out cutting-edge rap beats that owed just as much to trance and ambient music, respectively, as they did to hip-hop. What’s more impressive and surprising, to a day-one fan, is the Weeknd’s never-ceasing commitment to self-curation and aesthetic specificity.
The Weeknd "Kiss Land" Cover Art, Release Date & Tracklist - HipHopDX
The Weeknd "Kiss Land" Cover Art, Release Date & Tracklist.
Posted: Mon, 19 Aug 2013 07:00:00 GMT [source]
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Tesfaye’s path to success was unlikely, but easy to chart in increments. “The Hills” was even bigger than “Can’t Feel My Face,” 2016’s Starboy had yet another #1 with its title track, and last year’s “Blinding Lights” is one of the most successful singles of all time, recently becoming the first-ever song to spend a whole year in the Top 10 of the Hot 100. Tesfaye’s now big enough to play Super Bowls and raise a justifiable stink about a Grammys snub. No matter how smitten you were with “What You Need” the first time you heard it, there’s no way you could’ve predicted a fraction of these achievements.
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The nearly eight-minute clip is described by authors Carrie Battan and Amy Phillips of Pitchfork as, "a time traveling, Afrofuturist, science fiction battle of the sexes that demands to be watched in HD." After excitedly covering the Weeknd’s earliest music at my first-ever blog gig in Spring 2011, I vividly remember the turning point, the day in May 2015 when “Can’t Feel My Face” and “In The Night” leaked. In between Kiss Land and that leak, singles “Often” and “Earned It” had hinted at a more pop-friendly Weeknd, but not like this. Both new leaks were co-produced by superproducer Max Martin, and sounded like it.
But while Ocean receded further and further into the shadows and released commercially unsuccessful, critically adored albums, the Weeknd improbably became one of the 2010s’ biggest success stories. For the omnivorous listener, hearing two disparate genres brush up against each other in ways you’d never previously imagined is a treat akin to watching Danny Devito and Arnold Schwarzenegger pal around in Twins. In December 2011, Metacritic determined that House of Balloons was the third best-reviewed project of the year.
House of Balloons is the debut mixtape by the Canadian singer-songwriter the Weeknd. It was released on March 21, 2011, by the artist's own record label XO. The mixtape was released for free on the Weeknd's website and was the subject of increased media discussion upon the use of its songs on television, as well as the then-anonymous identity of the individual behind the Weeknd. House of Balloons was entirely recorded in Toronto, with production handled primarily by the Weeknd, Doc McKinney, and Illangelo, alongside additional contributions from Cirkut, Jeremy Rose and Rainer.
Its title is derived from the nickname the singer gave to his former home in Parkdale, Toronto. The mixtape received widespread acclaim, with critics praising its dark aesthetic, production, and lyrical content. It is widely regarded as a major influence on both contemporary and alternative R&B. House of Balloons also contains elements of soul, trip hop, indie rock, dream pop, and electronic music. Lyrically, the mixtape explores the Weeknd's drug use and experiences with love, heartbreak, and promiscuity.
Musically, House of Balloons mixes R&B with elements of rock, electro, and hip-hop. Maybe there is a deeper issue with that, but I feel like with me it’s never been about the artist and the image of the artist. And I felt like it was the most unbiased reaction you can get to the music, because you couldn’t put a face to it.
Trilogy is the first compilation album and major label debut by Canadian singer-songwriter the Weeknd. It is composed of remixed and remastered versions of the songs contained in his 2011 mixtapes House of Balloons, Thursday and Echoes of Silence, and three previously unreleased songs, "Twenty Eight", "Valerie", and "Till Dawn (Here Comes the Sun)" were included as bonus tracks. House of Balloons received widespread critical acclaim, and it is considered by many to be one of the most influential R&B releases in recent years, specifically the 2010s. Preceded by a string of low-profile buzz single releases throughout 2010, the mixtape attracted significant interest due to the then-anonymous identity of the individual behind the Weeknd. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, House of Balloons received a weighted average score of 87 based on 16 reviews, indicating "universal acclaim".
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